Instructor
Philip DiBello
philip@noideas.biz


Course Description
This course will provide an emphasis on developing your sensitivity to typography. We will discuss when and why certain typographic choices feel relevant and how they are employed in your design. We will do this through both restrictive and open-ended assignments. Projects will be a combination of experimentation and formal exercises with a focus on typographic systems. Together we will discover the details of macro and micro typography.
   Central discussion themes are theory, dialogue, process and personal practice. The goal is to inform your personal opinion about design. Classes are a combination of critique, in-class workshops, and one-on-one meetings with occasional guest lectures and critiques.
   Throughout the semester readings will be assigned along with each project. They are central to your comprehension of the task at hand. Read them carefully and do your best to challenge the thoughts written within the essay.


Student Expectations
This course is constructed for a higher level junior design student. It assumes you already have knowledge of fundamental design and typographic principals. Some assignments will be open ended. You must take initiative in every project and make it your own. You’re expected to engage in critique, both by giving and receiving feedback.
 Your level of effort will dictate your success in this class. You must be disciplined and self-motivated. Be willing to put in the time.
 This is a space to discuss graphic design in it’s purest form. You’re here for yourself. Not to please your peers, or your professors, or other outside sources. We will intentionally subvert “real world” concerns, they mean nothing to what we can achieve in the classroom. Ask questions, challenge your critique and yourself, always strive to improve. In this classroom we will intentionally subvert capitalist “real world” concerns.
 Attendance is critically important to the success of your assignments and your letter grade. You’re required to be in class at it’s start time. Once you walk into the classroom please display your work before you do anything else. It should be hung on the wall, uploaded to the class computer, or set on a table and prepped for presentation. Take pride in your work and display it properly, hang things straight and in an orderly grid, etc.


Attendance Policy
At SVA the individual faculty member determines the number of acceptable absences, if any. My policy is as follows: you’re given one absence without repercussion. Missing a second class is an automatic C. If you miss three classes you will be withdrawn from the course, no exceptions. Tardiness will not be tolerated. Class starts promptly at 3:20, and the classroom door will be closed at 3:30. If the door is closed you are not permitted to enter and your tardiness will be counted as an absence.


Class Schedule & Critique
Critique’s are our way of helping you improve your work. It is an exercise in explaining your ideas and understanding how others react to what you’ve made. Critique’s are only successful if you are willing to participate. If you feel there is not enough room to speak your mind, please make it known. If you are struggling with critique, read the following explanation. Thank you Mitch Goldstein, Lauren McCarthy, Sasha Portis and Sophie Auger for influencing this style of critiques.

3:20-3:30
Attendance. Hang, display or upload your work
3:30-3:50
Review assignment next steps and materials
3:50-4:10
reading review (if applicable)
4:10-6:10
Critique and project review


Grades
Grades are a combination of the quality of your work, class participation and progress. Simply showing up will not make you pass the course. You must be prepared for the days lesson, completing any homework or readings assigned and ready to discuss. Completing all assigments and readings awards you a C. Your course grade includes participation (20%), reading discussions (5%), and assignments (75%). Participation considers critiques and the ability to speak to your work. Reading discussion means you actively read the reading in question and shared your point of view in the discussion. Assignment completion considers you delivering a final project, and my review of how successful the project was from a formal, conceptual and technical (digital / physical craft) standpoint.

A
Your work is of exceptional quality and reflects mastery of the material covered in class. Your class participation is outstanding. Your craft is impeccable and you find ways to push design and materiality. You consistently add something new to every project or push your capabilities. Your work steadily improved throughout the semester.

B
Your work is very good and satisfies the goals of the course. You participate in class discussion. Continue to refine your craft, and find those moments to take initiative in any given project and push it beyond it’s boundaries.

C
Your work meets the standards of the course. You could speak up or engage more often during class discussion. Be willing to take more chances with craft and production. You turn in assignments and did not miss more than one class.

F
Your work did not meet the requirements for this class. You did not complete all projects or missed 3 classes. You will receive no credit.



Academic Integrity
Academic dishonesty, including plagiarism, will not be tolerated. Students found to have committed an act of academic dishonesty will fail the assignment for which an infraction is suspected and substantiated. More serious violations will be handled through the process enumerated in the SVA Handbook. Put simply, make sure your work is your own.


Students with Disabilities
SVA is committed to providing students with access to their academic programs and courses. If you are a student with a disability and require accommodations, you must register with Disability Resources by visiting sva.edu/disabilityresources and completing an online accommodation request. To be eligible for accommodations in this course, students must provide the instructor with a letter of accommodation from Disability Resources. For questions or assistance, please call Disability Resources at 212-592-2396, or visit the office: 340 East 24th Street, New York, NY 10010, or email disabilityservices@sva.edu


Pronouns and Chosen Names
Students may indicate their pronouns and preferred/chosen first name through MyServices; this information will then appear on class rosters (go to "Edit Personal Identity").
   Please let me know the preferred name and pronouns by which you would like to be referred, if that information does not already appear on the roster. A student’s chosen name and pronouns should be respected at all times.


Suggested Books
Designing Books by Jost Hochuli ➺PDF
Detail In Typography by Jost Hochuli ➺PDF
The Vignelli Canon by Massimo Vignelli ➺PDF
The Elements of Typographic Style by Robert Bringhurst ➺PDF
Typographie: A Manual of Design by Emil Ruder
The New Typography by Jan Tschichold
Grid Systems / Raster Systeme by Josef Müller-Brockmann
The Typographic Desk Reference By Theo Rosendorf
Designing Type by Karen Cheng
Seeing Is Forgetting the Name of the Thing One Sees by Robert Irwin
Design and Crime (And Other Diatribes) by Hal Foster
Multiple Signatures by Michael Rock
Design as Art by Bruno Munari


Suggested Websites
Butterick’s Practical Typography
Don’t Fear the Internet: Basic HTML & CSS
The Elements of Typographic Style (Web)
Programming Design Systems


Type Resources
Classics
—ITC
—Monotype
—Font Shop
—Linotype
—URW++

Foundries & Independent Type Designers
—Commercial Type
—Klim Type Foundry (Kris Sowersby)
—Dinamo
—Grilli Type
—Swiss Typefaces
—Colophon Foundry
—Optimo
—Lineto
—Our Type
—Tobias Frere-Jones
—Hoefler & Co.
—Production Type
—Letters From Sweden
—Playtype
—Bold Monday
—A2 Type
—Open Foundry (decent, free fonts)

Newer Foundries & Contemporaries
—Radim Pesko
—Milieu Grotesque
—Schick Toikka
—Camelot Typefaces
—Medium Extra Bold
—Or Type
—Oh No Type Co.
—Future Fonts
—A is for
—Source Type
—Pyte

Type Reviews & Resources
—Font Review Journal
—Typographica
—Fonts in Use
—Typewolf

Design an interactive, screen based single function interface for mobile devices. Your task is to make an emotionless, glass, blank void make us feel something tangible. Any emotion is up for grabs. Anger, love, happiness, joy… The emotion is up to you, but in it’s simplicity your interface should clearly convey what your intention is.
  It should do no more or less than one function. Your interface should respond to a users input, meaning when it is scrolled, tapped, pinched or controlled in any way by a user interaction it should respond to the gesture. Your design can be functional or abstract.
  Your final deliverable is an interactive prototype to be viewed on your phone. Design and prototype your interface in Figma for your mobile device’s screen size. Your app should include all states and animations necessary to explain your interface. Because I assume you have limited or no programming experience, I expect your prototype to be a demonstration of how your interface works. It does not have to be fully functional, which is why we call it a prototype. Present your work in Figma’s prototype view for review next class, add your prototype link to this spreadsheet. Make sure your prototype is shareable.

SCREEN DIMENSIONS
iPhone 11 Pro / X
—375x812px

iPhone 13 / 13 Pro
—390x844px

iPhone 13 Pro Max
—428x926px



READ
Our reading for this assignment is Frank Chimero’s 2013 essay What Screens Want. Frank discusses an approach for designing interfaces, and discusses interactive design’s history.



WATCH
Andy Pressman dicsusses functional interfaces, and the merits of friction within user interaction.

View this post on Instagram

A post shared by ... (@johnprovencher)

EXAMPLES
John Provencher’s screen based interface distorts the image captured by your phone’s camera to create an abstract texture. The user can record a screenshot or video of the current color palette to their phone’s Photos.




Apple’s Measure (level) is a perfect example of a single function interface that meets this assignments requirements. It is both beautiful and simple to use. The affirmative green confirmation state gives a personal feeling of joy and accomplishment.




Bloom by Brian Eno and Peter Chilvers is an interactive instrument that creates looping, generative music.




Rafaël Rozendaal creates beautiful, sometimes meaningless, internet art.

View this post on Instagram

A post shared by Zander Whitehurst | UX/UI (@zanderwhitehurst)

Zander Whitehurst shares short, succinct figma prototype tutorials on Instagram. You can learn a basic understanding of the workflow by watching his tips.

Create a final, fully functional prototype of your interactive interface. It should sufficiently move us. Load your prototype on your phone and have it ready to present to the class.
  Lots of people say “graphic design is problem solving”. I’m not sure I fully agree, but there is a “problem solving” component to what we do. Even if it’s creating clarity and visual harmony, that could be solving a problem. I would argue good graphic design is not just “window dressing” or “decorating”.
  Your interface can solve a number of problems. Maybe it tells me the time. Maybe it tells me what podcast to listen to. Maybe it shows me if something is level. Maybe it generates random faces. It can be a useful tool, or it can not be useful at all. But do these things need to exist? What would you find useful if you had to design anything?
  Don’t get hung up on the ‘problem solving’ part too much, the thing you’ll realize quickly is that it’s a lot harder than it seems to do one thing well. And most of this will be a process in reduction. Do you need to add that extra step? Would it work better if something were moved here? Or interacted with this way?



Watch the above lecture by Bob Gill. Bob Gill (b. Brooklyn, New York, January 17, 1931) is an American illustrator and graphic designer. April Fool's Day, 1962, Gill, Alan Fletcher and Colin Forbes established Fletcher/Forbes/Gill design studio, the forerunner of Pentagram. In 1967, Gill left the partnership and assumed independent freelancing again, including teaching, filmmaking and writing children’s books. He lives and practices in New York.

When discussing typography we tend to use human characteristics to describe what we’re seeing. We call parts of letters arms, legs, chins, shoulders, spines… When we describe a typeface we might personify the alphabet by calling it friendly and bubbly, or serious and stark.
 For next week you’re tasked to pick a person. You need to find a typeface that connects to the person in some way. Maybe you try to find something that feels like their appearance, or you focus on their personality, or their body of work, etc. Whatever the case, be ready to explain your rationale. Avoid overly expressive typefaces unless you have a really good reason. Try to find beauty in the details.
 Design a french-folded book that should relate to the person somehow, and must use your typeface. The book should be at least 22 pages (10 spreads), plus a front and back cover (cover not included in page requirement). The page size must be 8.5×11”, spread size 11×17”. The book must be french folded. Your cover type is up to you (soft cover, hard cover, screw post, japanese stab, etc.). Take what you learned about book production and bring it to this project.
 Next, print out a specimen poster that includes every character of the typeface, uppercase and lowercase, including punctuation. This doesn’t have to be overly designed. Make the letters as large as you can, black text on white, 11×17”.
 Lastly, print a portrait of your person at 8.5×11”.Choose your typeface wisely. If in doubt, pick something classic and well drawn.
 Next week print your spreads single sided. Hang your work on the wall in sequence.

DELIVERABLES
Type Specimen Poster
Person Portrait
At least 22 pages (10 spreads)
—Page size: 8.5×11”
—French Folded

Take todays feedback into consideration and continue to refine your book. Next week loosly bind your french folded pages with binder clips so we can review in the round and flip through your work. Bring samples if possible to illustrate your concept. Design your front and back cover and make any revisions to your page spreads.
 We want a fairly substantial dummy of your final, so start to think about binding method and paper quality. Find references online, in the library, a bookstore, etc.


Checklist —
➺ Format and thickness
➺ Proportions of Spread
➺ Margins & Grid
➺ Typeface Selection
➺ Text Setting
➺ Paper, Printing, Production
➺ Binding
➺ Front & Back Covers
➺ Object Quality as a Whole





READ
New York–based designer Geoff Han is known for using interesting print techniques and materials in his work. Read the Walker Interview and gain some insight into his process.




WATCH
Celebrated Dutch designer Irma Boom specializes in making books. And every book she makes is special. Through her innovative manipulation of content, her use of unconventional materials, and her mastery of production techniques, she pushes the boundaries of book design, making each a sculptural object that can be manufactured at scale. On this rare visit to San Francisco, Boom used an overhead camera to present several of her books from Letterform Archive’s collection, exploring the process of creating each one, and demonstrating the tactile and sensory possibilities of the form.

Bring in your final book along with your poster and portrait. We want to see beautiful, well crafted books. Lean into your strengths, consider materials, and challenge yourself.

Checklist —
➺ Format and thickness
➺ Proportions of Spread
➺ Margins & Grid
➺ Typeface Selection
➺ Text Setting
➺ Paper, Printing, Production
➺ Binding
➺ Front & Back Covers
➺ Object Quality as a Whole





McNally Jackson is a fantastic independent bookseller and New York staple. Visit one of their locations for inspiration and a great selection of books.




Talas is bookbinding supplies specialist. You can find bookbinding tools and materials in their showroom in Brooklyn.

Choose an object that resonates with you. It can be anything you like, but should be something that stimulates you visually and critically. You’ll be using this as the pillar of your identity project, so choose wisely. Consider this objects materiality, history, lineage, function, and so forth. It can be old, attached with personal meaning, or brand new.
  You will be presenting your object to the class in the form of a two minute scripted presentation or video which is a deep analysis of your object. Upload your presentation to the Google Drive Folder under week 7. The following weeks will be focusing on designing a larger project which is based on your analysis and research. Trust the process. Go into this project with no preconceived notions. You need to let the object guide you.

PART 1: Research Presentation
Show your research in the form of a scripted presentation. Keep your presentation around 2 minutes. Your main goal is to explain how the ideas in your object are expressed through form, function and context. These should be a combination of subjective opinions and objective thoughts. Be as specific as possible, research and present even the most obvious themes and physical attributes (they might not be so obvious to us). Work on forming an opinion of the object, and explain it’s significance culturally and personally. Your presentation can take quantitative form as a traditional powerpoint with comparisons, statistics, interviews and visual collections or it can be crafted as an abstract visual exploration of the object. In both cases, keep in mind pacing, design, sequence, juxtaposition and tone. Your presentation should answer the following questions with thought and critical analysis of your object—
1. It’s history
2. It’s users (past, present and future)
3. Associative meanings or other uses
4. Cultural context
5. Personal significance
6. 5 underlying themes uncovered

PART 2: Documentation of Form
Create a section of your presentation which is an exploration of your object both formally and representationally. You’re to bring 100 total images relating to your object.
  For your first 25 slides, record and document your object. Explore every potential angle and facet. This should be an intimate documentation of your object, uncover things you’ve never noticed. Find beauty in the details.
  Next, collect 75 images relating to your object. This should not be of the object itself, more like research. Found imagery can be sourced from online or in books, be broad and wide in your research. Are there schematics of blueprints of your object somewhere? Is it made by someone, if so does their company have a logo? Are there advertisements for your object? Be abstract in your research, find tangents. They’re often the most interesting.

25 slides: documentation of object
75 slides: moodboard/research slides




Background
Read Research and Destroy by Daniel van der Velden (B. 1971). Daniel van der Velden is a graphic designer and writer. Together with Vinca Kruk he founded Metahaven, a studio for design and research. Metahaven's work—both commissioned and self-directed—reflects political and social issues in provocative graphic design objects.


Example Presentations
Below are some previous student presentations to inspire you. Notice how each presentation follows the proposed outline, is well designed, and has a clear point of view.

AJ Kim
Eddy Lee
Daphne Chiang

Conduct two to three experiments exploring your object further. Each experiment should investigate a theme uncovered during your research phase. Present your experiments to the class in the following formats. If you have a laptop or iPad please prepare your video deliverable on your device.
  This weeks goal is to shift from left to right brain. Don’t think, make. Title your piece as your theme with no further explanation. It will be up to your classmates to extract meaning from your work. The goal is to develop original content that has the potential to inform or be included in your final publishing project.

ZINE
Translate a theme through an 8 page 5.5x8.5" saddle stitched zine exploring the object contextually: where it’s found, bought or sold (image dominant).

POSTER
Translate a theme through a 16x24" poster typographically: exploring what the object says or suggests (type dominant).

VIDEO
Translate a theme through a 10 second video exploring the object formally: how it looks, sounds, smells or functions. Focus on a minute detail.




Background Read Michael Rock’s essay Fuck Content, Rock revisits his 1996 piece Designer as Author. His latest reflection sees him regarding the designers role and it’s relation to content.




Background
Read The Eames Institute’s Profile on designer and artist Daneil Eatock. Daniel occupies the space of fine art, but his sensabilities and training as a designer are present in his work. More to take from all this than anything is the final sentence “Eatock offers the rest of us some consolation: the realization that not every idea merits further exploration, but that through a dogged pursuit of work, something of value will emerge.”

Being a graphic designer affords endless possibilities. Our job is not purely visual or aesthetic; The way things look is only a part of the whole. Our job is to give ideas form, to shape what we have into a coheasive whole. Being in this position feels like a curse, but it’s actually a blessing. We’re world builders.
  Develop a long form project based on a theme or idea uncovered from your object research. This theme or idea will be the foundation of your design system and content. Your project should have a core printed / physical component, plus three project extensions of any medium. The goal of this assignment is to research, curate and develop the content, visual language and execution of your project.



CORE COMPONENT, EXTENSION, SYSTEM
By week 12 your core component will be in the final process of design and production. By week 13 your final outcome will be physically produced. By week 15, you will formalize the elements of your projects visual language into a system delivered in the form of a digital brand guidelines document and extend your project across multiple touchpoints, three additional deliverables.

REQUIRED CORE COMPONENT
WK 10-13 (CHOOSE ONE)

—A Research Book Project
(150pg minumum)
 1. Printed and bound publication
 2. One section should be authored content
 3. At least two sections of collected & curated content

—A Magazine Project
(1 issue executed, 2 planned)
 1. Nameplate Design
 2. One featured article
 3. Three 3-spread articles
 4. A unique section featuring authored content

—Brand or Consumer Packaged Good
e.g. Fashion, physical goods, etc.
 1. Product Design
 2. Wordmark and logo
 3. Identity System
 4. Art Direction

EXAMPLE EXTENSION MEDIUMS
WK 12-15 (CHOOSE THREE)
 1. Video (film, documentary, animation, etc)
 2. Audio (podcast, music, playlist, etc)
 3. Merch (clothing, objects, etc)
 4. Microsite (e-comm, narritive, etc)
 5. Platform Based (IG, Youtube, Twitch, TikTok, etc)
 6. Poster / Campaign
 7. Live Show / Event
 8. Come up with something else

SYSTEM BRAND GUIDELINES DOCUMENT
WK 15 (OUTLINE IF APPLICABLE)
 1. Intro / concept
 2. Logo
 3. Wordmark
 4. Typography (primary, secondary...)
 5. Color Palette
 6. Art Direction / Photo Style
 7. Iconography
 8. Extension Examples



NEXT WEEK
Begin concepting and designing your core component. Explain to me how it connects back to your object, and how you would like to move forward. Use mockups and sample spreads or designs to show proof of concept. We will discuss how it is shaping up, what needs to be addressed, and how you can develop your project to push the idea further. Upload your work to the Google Drive Folder. View an example presentation.

RESEARCH BOOK
Two distinctly different book layout ideas that include:
a. Cover
b. 3 sample spreads

MAGAZINE
Two distinctly different magazine layout ideas that include:
a. Nameplate Design
b. 3 sample spreads

BRAND or PACKAGED GOOD
Two distinctly different brand ideas that include:
a. Wordmark & Logo
b. Product mock-up
c. Product Packaging



BACKGROUND
Watch the Virgil Abloh lecture “Everything in Quotes”. Virgil was an American fashion designer and entrepreneur. Abloh began his own line of streetwear clothing, Pyrex Vision, in 2012, and became the chief executive officer of the Milan-based label Off-White, a fashion house he founded in 2013. The most practical advice as it pertains to this assignment is 25:18 “The Domino Effect”.



EXAMPLE PROJECTS
Below are some previous student projects to inspire you. Your first few weeks will be less formalized than what you see here, but when you reach the end of this project your themes and throught process will reveal themselves.

Heeyoung Choi (research publication)
Eddy Lee (research project, custom typeface)
Chengbo Yao (record label)
Inkyoung Hur (conference, custom typeface)
Jennifer Kim (custom typeface)
John Patrikas (product, misc.)
AJ Kim (publication, misc.)

This week’s goal is to set a plan in place. Path out the next few weeks for yourself and slowly flesh out your project. Curate your research and content and begin to fold that into your project. We will have one-on-one crits, sign up for a time slot here. You only need to come to class for your time. Presentation style can be loose, gather your thoughts into presentation slides but also be willing to show work in progress or sketches. Upload to Google Drive, we will review on your laptop.

CORE 1: BOOK
Select your content and begin to source the text and research imagery you will use for your book. Create a Book Plan that outlines your 150+ page book into sections. Design 1/4 of your book, or about 30 pages total. Sketch or place designed pages in your book plan throughout the project to chart your progress and fill in any holes.

CORE 2: MAGAZINE
Select your content and begin to source the text and research imagery you will use for your magazine. Create three nameplates or variants that we can evaluate. Design one 3-spread article using your sourced content. Create a Book Plan that outlines your magazine’s sections and stories. Sketch or place designed pages in your book plan throughout the project to chart your progress and fill in any holes.

CORE 3: BRAND or PACKAGED GOOD
Start to actually design the details of your project. Create a mockup schematic of your packaged good. If applicable, show us front, side, top and back views. This can be 3D rendered or sketched. Research manufacturing and see if this is something you can source or create yourself. Design the packaging that will house your good.




READING
Read the essay “What Design Means For Me” by Karel Martens. In this personal reflection, Karel explains his point of view on design. This is refreshing, especially in context to all the other readings from the year.

EXAMPLE PROJECT
Chengbo Yao’s Object Project started with an instrument he was learning called the Handpan. What started as an observation of the instrument evolved into an exploration of the wavelength 432 Hz, a tuning in sync to the vibrations of nature. Chengbo created musical compositions with his instrument that imitated the sounds of nature like rain, wind, thunder, fog, etc. He then created a record label and website to house his project.
Chengbo Yao Object Project PDF

Design roughly half of your project and plan your authored content (if applicable). Create a presentation and upload to Drive. Print a sample of your work actual size. We will meet in small groups, sign up for a group here. You only need to come to class for your group time. The focus this week is your authored content, but that doesn’t mean to pause on the design of your core component. Keep working.

CORE 1: BOOK
Plan your authored content section. This can be many things: a photo essay, interview, creating artwork, etc. Explain your plan and show a moodboard or references in a 3-5 slide presentation. Design ½ of your book, or 75 pages. Print 10 of those pages for presentation.

CORE 2: MAGAZINE
Plan your authored content section. This can be many things: a photo essay, interview, creating artwork, etc. Explain your plan and show a moodboard or references in a 3-5 slide presentation. Design ½ of your magazine. Print 6 of those pages for presentation.

CORE 3: BRAND or PACKAGED GOOD
in a 5-10 slide presentation define your system into a kit of parts: Logo, wordmark, typography, color palette, etc. Collect 15 images of product photography art direction and inspiration. Print example labels or packaging, etc. at actual size. Make progress in manufacturing or resourcing your good. Bring sourced samples so we can discuss materiality.





The Baffler Magazine has a section called “The Exhibit” where they work with a different artist to create a narrative “op-art” piece surrounding the issue’s theme. Some favorites have been Gilles de Brock, Gender Fail, Jenny Odell, Paul Sahre, Félix Decombat, Ruben Pater and John Provencher.





WAX Magazine was a bi-annual print publication exploring the intersection of art, culture and surfing. Each issue is organized around a unique theme and shares the stories of area surfers who are also artists, designers, authors and auteurs. Its first issue was funded in 2011. Its last issue was in 2017. A favorite photo essay was one on the various types of salt found in different oceans by Luke Stettner.





Riposte Magazine profiles bold and fascinating women who challenge power structures and stereotypes. Their interviews candidly discuss their successes & failures, their work, their passions and perspectives.





Chris Rodgers created the Decision Labratory. The project scope included concept, creative direction, identity, design, and illustration for a brand that creates analog decision making tools.

Design the entierty of your core component. Create a “dummy” version of your object, exactly full or half scale. We want to spend our time talking about details: how to refine your logo, layout, typography, etc. Use this crit to talk through anything you are questioning about your design system.
  Devise a plan for 2 of your 3 “extensions”. Design the first round of your extensions. Show them in their native format or create a 3-5 page PDF explaining how you will move forward. Review week 9’s assignment for example deliverables. Upload whatever you would like to show to Drive.

CORE 1: BOOK
Design your book from cover to cover. Print a draft version and bind loosely with binder clips. Fill in your Book Plan with all of your designed spreads as thumbnails. We will review typographic details, pacing, structure and discuss finishing details.

CORE 2: MAGAZINE
Design your magazine from cover to cover. Print a draft version and bind loosely with binder clips. Fill in your Book Plan with all of your designed spreads as thumbnails. We will review typographic details, pacing, structure and discuss finishing details. Conceptualize and design the covers of your next two issues.

CORE 3: BRAND or PACKAGED GOOD
Refine your identity system and bring in a prototype version of your final product and it’s packaging. in a 5-10 slide presentation refine your system’s kit of parts including: Logo, wordmark, typography, color palette, etc. Plan a photo shoot or devise a rendering method for final product photography or presentation.





VIDEO
Consider how short or medium form video can play a role in the promotion of your core component. This can take form of a trailer, setting the tone for your magazine. Or think how to leverage social media platforms and the impact of quick, expressive video clips.



MICROSITES
There is no shortage of great microsites, or one page self-contained interactive experiences that promote a publication or event, give a general overview of it’s contents and serve for a place to purchase a copy.

Decade
Kindling Magazine
Nebau Forst Catalog
Klima Magazine
Nosaj Thing – Continua
Island, Island
The Gentlewoman
Uncanny Valley
High School
Pitch Music Festival

Produce your final project core component, either your book, issue 1 of your magazine, or your packaged good. These should be real, physical, tangible objects. Continue to design your three extensions in the background of this deliverable.



Example Extension: Event & Promotion
Hilda Wong created The Internet is my Main Course, a curated dinner party series and short film of the same title. The film was looped in the background of the event. A series of Instagram posts acted as an invitation and documentation of the event.

Class is optional, finish and hand in your portfolio on time. Upload your PDF, go hang out in the park, take a breath. If you’d like to discuss your Research & Identity project or extensions you can sign up for a one-on-one session. You have the option to attend a video or in person meeting at No Ideas (we moved to the Navy Yards).

Create a 2-minute presentation for our guest which showcases your project as a whole. Describe your process from beginning to end, starting with what you found fascinating about your object and how it manifested into your final core component. Think of this as a full case study, walking through your process from concept, to visual language and finally execution. Finish your three extensions and include them in your presentation. Upload to Google Drive.
  It goes without saying, but your end result should be professional and polished. Have your presentation ready to present on your personal laptop or tablet, and bring in your final piece. We will organize the room to display all of your projects and review with the guest one-on-one.

DESCRIBE
1. What was your object?
2. How did you uncover your theme?
3. How did it manifest in your projects?
4. Finally, show your projects in full as a case study
— Organize this section like an Identity Guidelines doc
 a. Intro / concept
 b. Logo
 c. Wordmark
 d. Typography (primary, secondary...)
 e. Color Palette
 f. Art Direction / Photo Style
 g. Iconography
 h. Your Three Extensions


ALSO
Please upload a PDF of all of your work from Fall and Spring semester for grading purposes to Google Drive by Friday. This should be a simple PDF well presented that shows me your final project outcomes.


READING
There are countless examples of great identity guidelines programs going back to their inception with modernist design and the international typographic style. Standards is a platform for digital versions of identity guidelines documents. See examples on their site for how these types of guidelines are designed and organized. Link